... women’s cinema at present, visible in the rise of the Berlin School, the development of women-oriented production collectives, and the resurgence of feminist organizing on behalf of gender parity in the contemporary German film industry. Copyright © 2018 Camera Obscura 2018 This content is made freely...

...Hester Baer; Angelica Fenner In this conversation, which took place in Berlin, Ger­many, in August 2017, filmmaker Tatjana Turankskyj discusses recent developments in Pro Quote Film, the feminist initiative she cofounded with several other women filmmakers to promote gender parity in German film...

... film authorship, namely: feminist structures (WIFTG), demands for a quota system (PQF), and a grassroots feminist mentoring collective of film school graduates (ITW). Copyright © 2018 Camera Obscura 2018 gender parity German film industry quota system film collectives Verband der...

...Amanda Howell Copyright © 1992 by The Johns Hopkins University Press 1991 Susan Jeffords’s The Remasculinization of America: Gender and the Vietnam War (Bloomington: Indiana University Press, 1989) Amanda Howell We must ask more often how things...

... Technologies of Gender (1987), theories of female spectatorship, like work on female subjectivity, need to heed the variety and differences that exist among women, to recognize that there is no universal “fe- male.” I was surprised by the third question-has the notion of the...

...• struction of national and cultural citizenship, as well as to examine the gender, race, and class dimensions of the national narratives pro• duced by a contemporary Hollywood film explicitly addressed to an audience of adolescent and pre-adolescent US girls. The impetus for my inquiry into Clueless...

... was to align the “cure” for political problems with normative gender and sexual behavior. Pressure Point’s narrative dramatizes this effort to cure, but it also reveals the ideological tensions embed- ded in such a project. In the process of converting...

..., predictable genre by undermining the standard structures of episodic narration and tying its plot to contemporary controversies and politics.1 Tapping into a number of broad social changes, the program admirably portrayed a version of gender parity, included a multiracial cast, depicted love and sex...

... relationship comedies, share anxieties about sex and gender that set them apart from most earlier comedies. Doris Dörrie’s Männer [Men] (1985), a hit from the 1980s, is often cited as a precursor to the Comedy Wave. And the films do evidence certain similarities...

... popular culture. Popular culture is not inherently good or bad in the show-it can be both-but it is connected to women’s daily lives and ways of being, and often it provides a way to critique race and gender stereotypes, an argument to which I will return. This connection is...

... characters were ap• proaching numerical parity with males (of 143 new characters in prime time that fall, 67 were women) and that 76% of adult females on television held jobs outside the horne." John J. O'Connor in his New York Times "TV View" column found that "women are getting more sympathetic...

... frontier, particularly since the flexible parameters of screen identity provide an anonymity that offers room for gender play. Feminist critics, however, observe that real-life women in such cyberspace forums as Usenet groups, email lists, Internet Relay Chat lines (IRC), and multi-user domains...

...- sentations such as the ones I’ve described function as a vehicle for the 50 ideological legitimation of views of race, class, and gender in social and cultural life, and to quote George Lipsitz, are “charged with some responsibility for making new social relations credible and legitimate...

... Community in Interwar Japan This article focuses on the Japanese “woman’s film” (   josei eiga) and considers how national and modern gender identities converged in Japan’s interwar period. Japanese cinema in this era coincided with a prevalence of cultural discourses on modernity: what it...

... moral panic around lone motherhood.8 By considering the gender politics as they are rendered through the mollifying nos- talgic gloss of the heritage film, we can see that what appears to be a utopian construction of Howards End actually functions as what Michel Foucault calls a “heterotopia”—a...

... the o.g. negotiates the disjuncture between his transient economic authority and his more permanent social parity. Is this discrepancy a rationale for his brooding or his anger? More importantly, however, G is presented as a post-industrial o.g., an original gangsta forced to spend more time...

... hege- monic scientific inscription of the female body and a critical feminist voicing of women’s agency. Precisely because of its gendered character and public invisibility, endometriosis illuminates the coexistence of an up-to-date endoscopic panopticon (laparoscopy, laser laparoscopy...

... design, but has escaped scholarly attention in the Film Studies field. Thus I will examine the way that Art Deco reflects a certain gender politics (not only in the cinema, but in the movement’s production of sculpture, lamps, jewelry, and objets d’art). I will explore how Garbo’s iconic persona is...